i 



h's International Copyrighted (in Hnohind, her 
Colonies, and the United States) Edition of 
^ the Works of the Best Authors. 

/\ , ISTo. 79. I 






A Lesson in Harmony 



^ BY k 

n ^ 

I ALFRED AUSTIN I 

g Poet Laureate g 

I " I 

M 2?: 

M Copyright, 1904, by Samuel French h 

& . ]^ 



^ CAUTION : -Professionals and Amateurs are hereby notified 

M that this play is fully copyrighted under the existing; laws ^ 

& of the United States Qovernment, and nobody is allowed ^ 

Sf to do this play without first having obtained permission of 1» 

1^ Samuel French, 24 West 22d Street, New York City, U. S. A. K 

I i 

^? M 2*. 



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PUBLISHER 

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VOL. L 
I Ion 

t Faclo 

5 The Lady of Lyon* 
4 RichehfU 

I The Wife 

6 Th« Hoiieyiiioon 

T Th« School for Scandal 

• Mouey 

VOL. IL 

9 The Stranger 
10 Grandlather Whitehead 
Jl Richard HI 

15 Love't Sacrific* 

13 The Gamester 

14 A Cure for the Heartache 

16 The Hunchback 

16 Don Caesar de Boian 

VOL. IIL 

17 The Poor Gentleman 

18 Hamlet 

19 Charles II 

90 Venice Preserved 
tl Pizarro 
»I The Lore Chasf 
S8 Othello 

94 Lend me Fire Shilling* 

VOL. IV. 

95 VIrglnim 

96 King of the Commons 

97 London Assurance 

98 The Rent Day 

99 Two Gentlenit-n of Verona 

50 The Jealous Wife 

51 The RiraU 

82 Perfection 

VOL. V. tl>ebts 

88 A New Way to Pay Old 
84 Look Before You Leap 

8» KiBg John 

86 NerTOui Man 

87 Damon and Pythias 
S8 Clandestine Marriage 
29 William Tell 

40 Day after the Wedding 

VOL. VL 

41 Speed the Plough 
49 Romeo and Juliet 

43 Feudal Times 

44 Charles the Twelfth 

45 The Bride 

46 The Follies of a Night 

47 Iron Chest [Fair Lady 

48 Faint Heart Never Wou 

VOL. YII. 

49 Road to Ruin 
to Macbeth 

II Temper 

89 Eradne 

88 Bertram 

84 The Duenna 

t» Much Ado About Nothing 

86 The Critie 

VOL. VIII. 
17 The Apostate 

88 Twelfth Night 

89 Brutus 
80 Stmpson & Co 
•1 Merchant of Venice 
«9 Old Heads* Young Hearts 

83 Meuntaineers [ringe 

84 Three Weeks after Mar- 

VOL. IX. 

85 Love 

86 A* Ton Like It 

87 The Elder Brother 

88 Werner 
69 Gisippu* 

TO Town and Countrj" 
f 1 King Lear 
19 Blue Devils 

VOL. X. 
« Henry VIII 
94 Married and Single 
98 Henrv IV 

96 Paul TPry 

97 Guy Mannering 

98 Sweethearts and Wirt* 
9f Serious Family 

•0 Sue Stocps to Conquer 



VOL. XL 

81 Julius Csesar 

82 Vicar of Wakefield 

83 Leap Year 

84 The Catspaw 

85 The Passing Cloud 

86 Drunkard 

87 Rob Roy 

88 George Barnwell 

VOL. XU. 

89 Ingomar 

90 Sketches In India 

91 Two Friends 
9 J Jane Shore 

93 Corsican Brothers 

94 Mind yoiir own Busln 

95 Writing on the Wall 

96 Heir at Law 

VOL. XIIL 

97 Soldier's Daughter 
9S Douglas 

99 Marco Spada 

100 Nature's Nobleman 

101 Sardanapalus 

102 Civilisation 

103 The Robbers 

104 Katharine and PetrucMo 

VOL. XIV. 

105 Game of Love 

106 Midsummer Night's 

107 Ernestine [Dream 
Rag Picker of Paris 

109 Flying Dutchman 

110 Hypocrite 

111 Therese 

12 La Tour de Nesle 
VOL. XV. 

113 Ireland As It Is 

114 Sea of Ice 

115 Seven Clerks 
16 Game of Life 

117 Forty Thieves 

118 Bryan Borolhme 

19 Romance and Reality 

120 Ugolino 
VOL. XVL 

121 The Tempest 
l«a The Pilot 

123 Carpenter of Rouen 
lv4 King's Rival 
125 Little Treasure 
26 Dombey and Son 

127 Parents and Guardians 

128 Jewess 

VOL. XVII. ' 
29 Camilla 
130 Married Life 

Wen lock of Wenlock 

132 Rose of Ettrickvale 

133 David Copperfield 

134 Aline, or the Rose of 
35 Pauline [Killarney 

136 Jane Eyre 
VOL. XVIII. 

137 Nlifht and Morning 
■"' jEthiop 

139 Three Guardsmen 

140 Tom Cringle 

141 Henriette, the Forsaken 
Eustache Baudin 

143 Ernest Maltraver* 

144 Bold Dragoons 

VOL. XIX. 

145 Dred, or the Dismal 

[Swamp 

146 Last Days of Pompeii 

147 Esmeralda 

148 Peter VVilklns 

149 Ben the Boatswain 

150 Jonathan Bradford 

151 Retribution 

152 Minerall 

VOL. XX. 

1 53 French Spy 

154 Wept of Wish-ton Wish 

155 Evil Genius 
166 Ben Bolt 

157 Sailor of France 

158 Red Mask 

1 59 Life of an Actrese 

160 Wedding Day 



VOL. XXI. 

161 All's Fair in Lore 

162 Hofer 

163 Self 

164 Cinderella 

165 Phantom 

166 Franklin [Moscow 

167 The Gunmaker of 

168 The Love of aPrincs 
VOL. XXII. 

169 Son of the Night 
nORorvO'More 

171 Golden Eagle 

172 Rienri 

173 Broken Sword 

174 Rip Van Winkle 

175 Isabelle 

176 Heart of Mid Lothian 
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177 Actress of Padua 

178 Floating Beacon 

179 Bride of Lammermoor 

180 Cataract of the Ganges 

181 Robber of the Rhine 

182 School of Reform 

183 Wandering Boys 

184 IVlazeppa 
VOL. XXIV. 

185 Young New York 

186 The Victims 

187 Romance after Marriage 

188 Brigand 

189 Poor of New York 

190 Ambrose Gwinett 

191 Raymond and Agnes 

192 Gambler's Fats 

VOL. XXV. 

193 Father and Son 

194 Mnssanlello 
196 Sixteen String Jack 

196 Vouthful Queen 

197 Skeleton Witness 

198 Innkeeper of Abbeville 

199 Miller and his Men 

200 Aladdin 

VOL. XX VL 

201 Adrienne the Actress 

202 Undine 

203 Jesse Brown 

204 Asmodeus 

205 Marmons 

206 Blanche of Brandywlne 

207 V-ola 

208 Deseret Deserted 

VOL. XXVII. 

209 Americans in Paris 

210 Victorine 

211 Wizard of the Wave 

212 Castle Spectre 

213 Horse-shoe Robinson 

214 Armand, Mrs. Mowatt 

215 Fashion, Mrs. Mowatt 

216 Glance at New York 

VOL. XXVIIL 

217 Inconstant 

218 Uncle Tom's Cabin 

219 Guide to the Stage 

220 Ve'eran 

221 Miller of New Jersey 

222 Dork Hour before Dawn 

223 Midsum'rNight'sDreani 

[Laura Keene's Edition 

224 Art and Artifice 
VOL. XXIX. 

225 Poor Young Man 

226 Ossawattomie Brown 

227 Pope of Rome 

228 Oliver Twist 
2'29 Pauvretta 

230 Man in the Iron Mask 

231 Knight of Arva 

232 Moll Pitcher 

VOL. XXX. 

233 Black Eyed Susan 

234 Satan in Paris 

235 Rosina Meadows [ess 

236 West End, or Irish Heir- 

237 Six Dagrees of Crime 

238 The Lady and the Devil 

239 Avenger, or Moor of Sici- 

240 Masks and Faces , [ly 



VOL. XXXL 

241 Merry Wives of Windsor 

242 Mary's Birthday 

243 Shandy Maguire 

244 Wild Oats 

245 Michael Erie 
46 Idiot Witness 

247 Willow Copse 

248 People's Lawyer 
VOL. XXXIL 

249 The Boy Martyr* 

250 Lucretia Borgia 

251 Surgeon of Paris 

252 Patrician's Daughter 

253 Shoemaker of Toulouse 

254 Momentous Question 

255 Love and Loyalty 

256 Robber's Wife 
VOL. XXXIIL 

257 Dumb Girl of Genoa 
Wreck Ashore 

259 Clari 

Rural Felicity 

261 Wallace 

262 Madelaine 

263 The Fireman 

264 Grist to the Mill 
VOL. XXXIV. 

65 Two Loves and a Life 

266 Annie Blake 

267 Steward 
Captain Kyd 
Nick of the Wood* 

270 Marble Heart 
Second Lore 

272 Dream at Sea 

Vol. XXXV. 

273 Breach of Promise 

274 Review 

275 Lady of the Lake 

276 Still Water Run* Deep 

277 The Scholar 

278 Helping Hands 

279 Faust and Marguerite 

280 Last Man 

VOL. xxxvr. 

381 Belle's Stratagem 

282 Old and Young 

283 RaflFaella 

284 Ruth Oakley 

285 British Slave 

286 A Life's Ransom 

287 Giralda 
28S Time Tries All 

VOL. XXXVII. 

289 Ella Rosenburg 

290 Warlock of the Glen 

291 Zelina 

292 Beatrice 

293 Neighbor Jackwood 

294 Wonder 
296 Robert Emmet 

296 Green Bushes 
VOL. XXXVIIL 

297 Flowers of the Forest 

298 A Bachelor of Arts 

299 The Midnight Banquet 

300 Husband of an Hour 
801 Love's Labor Lost 

302 Naiad Queen 

303 Caprice 

304 Cradle of Liberty 
VOL. XXXIX. 

305 The Lost Ship 

306 Country Squire 

307 Fraud and jts Victims 

308 Putnam 

309 King and Deserter 

310 La Fiammina 

311 A Hard Struggle 

312 Gwinnette Vaughan 
VOL. XL. 

313 The Love Knot [Judge 
SULavater, or Not a Bad 

315 The Noble Heart 

316 torlolanus 

317 The Winter's Tale 

318 Eveleen Wilson 

319 Ivanhoe 

320 Jonathan !n England 



{French's Standard Drama Continued on ^d page of Cover.) 



SAMUEL FRENCH. 26 West sad Street. New York City. 

New and Explicit Des';riptiYe Catalogue Mailed Free on Request. 



LESSON IN HARMONY 



Br 



ALFRED AUSTIN 



Poet Laureate 



Copyright, 1904, by Samuel French 



CAUTION :— Professionals and Amateurs are hereby notified 

that this play is fully copyrighted under the existing laws of 

the United States Government, and nobody is allowed 

to do this play w^ithout first having obtained 

permission of Samuel French, 24 'West 

22d St., New York City, U. S. A. 



New Yobk: 
SAMUEL FRENCH, 

PUBLISHER, 

26 WEST 22nd STREET. 



London : 
SAIVIUEL FRENCH, Ltd., 

26 Southampton St., 
Strand, London, W. C. 



l^li-of^ 



I 



<\oi- 



LIBRARY of OONGBESS 
Two Copies ReceivBd 

NOV 28 1904 

, Copyrient Entry 

CUSS /jb XXq. Noi 



Copyright, 1904, 

By 

SAMUEL FRENCH 



A LESSON IN HARMONY. 

Produced at the Garrick Theatre on Thursday, June 
i6th, 1904, with the following cast: 

Phil. Leslie, In the city Mr. David Domville 

Ida Leslie, His wife Miss Jessie Bateman 

Otho Hazlewood, His friend 

Mr. Arthur Bourchier 

Scene. — A suburban garden near London. 

Time. — To-day. 



A LESSON IN HARMONY. 

Scene. — Villa and garden at Maplehursf. 
Time. — lo a. m. on a summer morning. 
(Ida discovered syringing a bed of roses.) 

IDA LESLIE. 

(Putting down the syringe to cut a rosebud zvith 
a pair of garden scissors hanging from her zvaist. 
As she does so a letter falls, unobserved by herself, 
out of the bosom of her dress, into the Uower bed.) 
What a beauty! That will put Phil in a good hu- 
mour, if anything will. When we were engaged he 
used to give me roses. But / was not gathered 
then ! A-h ! 

PHIL. LESLIE. 

(Calling from inside the house.) I must be off, 
Ida ; where are you ? 

IDA LESLIE. 

Here, Phil, here, in the garden. 

PHIL. LESLIE. 

(Coming out of the house dressed to go to town.) 
Just one kiss (pause), and I must start. (Going to 
gate.) I want to catch the 10.15 if I can. 

5 



6 A LESSON IN HARMONY. 

IDA LESLIE. 

' Yes, but just one rose. 

PHIL. LESLIE. 

(Intently reading Financial Times.) Rose }i. 

IDA LESLIE. 

Yes, but do look at it, it's a Fellenberg. 

PHIL. LESLIE. 

Fell i^. 

IDA LESLIE. 

(Putting it in his coat.) Is it not a love? 

PHIL. LESLIE. 

(A little impatiently.) Beautiful, beautiful! But 
I am in a great hurry this morning. 

IDA LESLIE. 

Husbands always are. 

PHIL. LESLIE. 

So are lovers, they say, don't they? 

IDA LESLIE. 

Yes , but lovers are in a hurry to get to one, 

husbands to get away from one. I may engage the 
maid, may I not ? How nice to have one, all to my- 
self ! It will save me such a lot of money. I shall 
be able to dress ever so much more cheaply. 

PHIL. LESLIE. 

I am afraid I must ask you to wait a little. 



A LESSON IN HARMONY. 
IDA LESLIE. 

Oh, Phil ! You promised you 



PHIL. LESLIE. 

Things in the city are so — so very uncertain just 
now. 

IDA LESLIE. 

Very well, I will wait. But you'll order that Vic- 
toria to-day, won't you? Or shall / run up and see 
to it? 

PHIL. LESLIE. 

Do be patient, dear, please, till things mend. (Ida 
moves L.) And please practise that Lesson in Har- 
mony to-day, won't you? 

IDA LESLIE. 

{With a gesture of impatience.) Bother! 1 

never set my heart on anything, but {She 

moves towards the house R.) 

PHIL. LESLIE. 

I shall have to run to catch the train. Don't for- 
get about sending my white waistcoats to the wash. 
{Goes out of gate.) 

IDA LESLIE. 

{Going into house.) All right. 

PHIL. LESLIE. 

{Hurrying hack and turning round calls out.) 
Ida! Ida! Ida! Mind, dear, you speak to the 



g A LESSON IN HARMONY. 

butcher about hanging his meat longer. It was so 
beastly tough last night. 

IDA LESLIE. 

Was it? (From off R.) 

PHIL. LESLIE. 

Yes, that it was! (He moves toward gate and 
Ida goes into the house.) 

(Otho falls out of hammock.) 

PHIL. LESLIE. 

What's that? 

OTHO HAZLEWOOD. 

Only me. 

PHIL. LESLIE. 

I thought it was an earthquake. (Helps Otho off^ 
ground.) 

OTHO HAZLEWOOD. 

Are you off? 

PHIL. LESLIE. 

Yes! 

OTHO HAZLEWOOD. 

Then good-bye, old fellow ; for I must leave you 
to-day. 

PHIL. LESLIE. 

Please don't go to-day. 

OTHO HAZLEWOOD. 

I'm afraid I must. 



A LESSON IN HARMONY. 



PHIL. LESLIE. 



I want you particularly to stay till to-morrow. 
{Looking at his watch.) I can't catch the 10.15 
now. Well, the 10.30 must do. 

OTHO HAZLEWOOD. 

It's all right about Gwen. Her father is quite sat- 
isfied, and we are to be married in September. Isn't 
it a good one of her? (Shozving a photograph.) 

PHIL. LESLIE. 

Charming ! Lucky man ! But don't go to-day. 
Ida's low and hipped, and I want you to stay and 
amuse her. Besides you promised to help me with 
that new bin of Lafitte. 

OTHO HAZLEWOOD. 

That settles it. I'll stay. How are things in the 
city? (Sits in hammock.) 

PHIL. LESLIE. 

Much better. The anxiety is not over yet, but we 
shall know to-day. I shall just catch the 10.30 
going quietly. Mind you cheer up Ida. 

OTHO HAZLEWOOD. 

Trust me! (Waving his hand, as Phil goes 
through gate and off R.) Good luck to you, old 
man. 

(Exit Phil.) 

OTHO HAZLEWOOD. 

(Alone.) Dear old Phil ! Thinks of nothing but 



10 A LESSON IN HARMONY. 

making money for his pretty little wife. Well, what 
better can a man do? / shall. (Taking out the 
photograph and kissing it.) This is a charming 
place! It's difficult to believe it's so near town. 
Thank Heaven, a playwright can live anywhere, and 
Gwen and I will live — well, nowhere ; in fact, any- 
where. (Putting back the photograph.) Bless her! 
And we'll have still better roses than these ! ( Going 
to the Hozver bed dozvn R. zvhere Ida plucked the 
rosebud, and stooping to pick up a piece of paper.) 
And we won't have pieces of paper lying in the 
flower beds. Verses! 

Better to love and lose ; 
To worship from head to shoes ; 
I sigh and I weep and I moan ; 
For thou art my unknown known. 

Nothing less! And what rubbish! What! To 
Ida! From L. G. I thought I knew the writing. 
That fatuous young philanderer, Sir Lothario Great- 
rex ! Makes love to every woman that will let him. 
I wonder how this got into the flower bed. She was 
syringing the roses just now. It looks as though 

(Picks up syringe.) 

(Ida comes out of the house.) 

IDA LESLIE. 

Oh, how kind of you, Mr. Hazlewood, to syringe 
my roses. I have been busy seeing to Phil's white 
waistcoats. He's so particular, and makes such a 
fuss about them ! 

OTHO HAZLEWOOD. 

Husbands do. They're such brutes. 



A LESSON IN HARMONY. n 

IDA LESLIE. 

I don't say that; but men are rather tiresome, 
sometimes, about trifles — I mean, when they are 
married. 

OTHO HAZLEWOOD. 

Exactly. What can it matter whether waistcoats 
are clean or dirty? 

IDA LESLIE. 

Oh! 

OTHO HAZLEWOOD. 

I mean, " when we are married " ? 

IDA LESLIE. 

{Comes L. C.) And I had to see the butcher, 
too, for Phil grumbles about the meat. 

OTHO HAZLEWOOD. 

I say, don't you think I should make a fine gar- 
dener ? 

IDA LESLIE. 

Did you think the saddle of mutton was tough last 
night ? 

OTHO HAZLEWOOD. 

Tough ! Why, it might have been lamb. It was 
as tender as — well, as men are, before they are mar- 
ried. I am sure it was not married mutton. 

IDA LESLIE. 

Why? 



12 A LESSON IN HARMONY. 



OTHO HAZLEWOOD. 

Because It melted like — like a man, before he is 
married. 



IDA LESLIE. 

You are laughing at me. {Sits C.) 

OTHO HAZLEWOOD. 

Upon my word, Mrs. Leslie, I never was more 
serious in my life. It was excellent. {He sits down 
R. of her on the stone seat of a sundial.) 

IDA LESLIE. 

I wonder what it is makes men so different, after 
marriage, from what they were before ? 

OTHO HAZLEWOOD. 

I can't say, you see, never having been married. 

IDA LESLIE. 

But you agree with me, don't you? 

OTHO HAZLEWOOD. 

Of course I agree with you — as I am not mar- 
ried. If I were, I suppose I should disagree with 
you. 

IDA LESLIE. 

T sometimes think marriage is a dreadful mis- 
take. 

OTHO HAZLEWOOD. 

Of course it is. It is the oldest form of error. 
Unfortunately, too, it is the most persistent, for we 



A LESSON IN HARMONY. 13 

seem quite incapable of getting rid of it. Man has 
changed his reHgion several times ; no form of phi- 
losophy lasts more than a generation, and, as for 
political institutions, we alter them every session. 
But though everybody, at least everybody who is 
sensible and charming, concurs in condemning mar- 
riage, no one seems able to teach us how to get rid 
of it. 

IDA LESLIE. 

How true ! And how cleverly you put it. I wish 
I could talk like you. 

OTHO HAZLEWOOD. 

So you would, my dear lady, if you were not mar- 
ried. Marriage begins by enslaving the body, and 
ends by subjecting the mind. No married person 
can feel, think, or act freely. 

IDA LESLIE. 

(Sighing.) I am sure / cannot. I often wonder 
why people marry at all — men at least. A woman 
must, I suppose. 

OTHO HAZLEWOOD. 

Well, scarcely ; unless a man must too. It re- 
quires two musts. 

IDA LESLIE. 

It is all must, in marriage. 

OTHO HAZLEWOOD. 

Perhaps that is the reason why it so soon grows 
musty. 

IDA LESLIE. 

(After impatiently gathering some honeysuckle, 



14 A LESSON IN HARMONY. 

and returning to her seat near Otho, ivho has not 
moved. ) Shall you ever marry, Mr. Hazlewood ? 

OTHO HAZLEWOOD. 

I? After what I have just said? Marriage is the 
makeshift of monotonous minds, the last resource of 
persons who have exhausted every form of pleasure, 
and are not such fools as to believe in the discovery 
of a new one. But it is as well to reserve something 
for one's old age. Some people reserve austere vir- 
tue as the consolation of that melancholy period; 
others, a cellar of old port, and a chest of fine cigars. 
I shall keep marriage in reserve as the mitigation of 
that evil day. When I have no longer a leg to stand 
on I shall lie down and propose — to my house- 
keeper. (Rise.) 

IDA LESLIE. 

I'm afraid you're very naughty, Mr. Hazlewood. 

OTHO HAZLEWOOD. 

Naughty ? I make hay while the sun shines. 

IDA LESLIE. 

Does it shine very much ? 

OTHO HAZLEWOOD. 

Fairly well ; for an austere climate like ours. 

IDA LESLIE. 

(Sighing.) I wish I were a man! 

OTHO HAZLEWOOD. 

Would you make hay? It does not require to be 
a man to do that. (She looks at him.) All flesh 



A LESSON IN HARMONY. 15 

is grass ; and therefore make hay of it. Many 
women seem to think so. 

IDA LESLIE. 

Now, you are cynical. 

{Ida rises and plucks a curled leaf off one of the 
roses. Otho remains seated.) 

OTHO HAZLEWOOD. 

{Aside — taking the photograph from his pocket, 
and looking at it.) Gwen, darhng, may I give this 
dear, silly, little woman a good lesson? May I, 
Gwen? {Puts back the photograph.) Yes, I think 
so. She sadly needs it. {Goes up to her.) 

IDA LESLIE. 

Tell me, Mr. Hazlewood, what is your idea of hap- 
piness ? 

OTHO HAZLEWOOD. 
{Up C.) Loving, and being loved. 

IDA LESLIE. 

Are you incapable of loving? {Moves down.) 

OTHO HAZLEWOOD. 

T? How can you ask such a question? {Fol- 
lows her.) 

IDA LESLIE. 

Then, I am sure you are loved. 

OTHO HAZLEWOOD. 

By whom? 



l6 A LESSON IN HARMONY. 

IDA LESLIE. 

Dear Mr. Hazlewood, will you tell me who it is? 
I promise not to betray you. 

OTHO HAZLEWOOD. 

I am sure you won't. 

IDA LESLIE. 

Who is it then ? 

OTHO HAZLEWOOD. 

Why do you want to know? 

IDA LESLIE. 

A woman's curiosity. 

OTHO HAZLEWOOD. 

Fatal curiosity. 

IDA LESLIE. 

Fatal? 

OTHO HAZLEWOOD. 

Often. 

IDA LESLIE. 

Why fatal? 

OTHO HAZLEWOOD. 

(Raising his eyes, looking at her earnestly, and 
then dropping them.) Can't you guess? 

IDA LESLIE. 

I? (A pause.) 



A LESSON IN HARMONY. 



OTHO HAZLEWOOD. 



17 



(Leaning towards her.) Forgive me! Did you 
suspect I was in love? 



IDA LESLIE. 



How should I? I don't know anybody so — 
clever — or so — so nice. Why, see ! I was miser- 
able this morning, and you have brightened me up, 
interested me, and made me feel quite happy. 

OTHO HAZLEWOOD. 

Then, since you are happy, may I tell you what 
would make me so? 

IDA LESLIE. 

Oh, do! I should so like to hear it. (Sits C.) 

OTHO HAZLEWOOD. 

{Leaning over her.) Loving and being loved by 
one you love — that is my ideal, my dream of hap- 
piness. But the surroundings should be in harmony 
with one's feelings. The frame should be worthy 
of the picture ; and one fair and fascinating should be 
encompassed by all that is fascinating and fair. If 
you ask me what I long for at this moment, it is that 
I should be transported into some distant land of be- 
witching beauty, blessed with blue skies, blue seas, 
blue mountains, and whose only denizens, save two 
voyaging selves, were every delicious scent, and 
every dulcet sound. 

IDA LESLIE. 

{Sighing deeply.) A-h ! How delightful ! Too 
delightful for words! Too heavenly for real life. 



l8 A LESSON IN HARMONY. 

(Laying her hand on his arm.) But go on! Do 
go on ! I love to hear you. 
(Enter Servant from house.) 

SERVANT. 

Sir Lothario Greatrex. 

OTHO HAZLEWOOD. 

I'll stroll round the garden. 

IDA LESLIE. 

No. (To Servant.) Tell Sir Lothario I am not 
at home. 

(Exit Servant into house.) 

(Ida contin/iies to walk among the flower beds; 
Otho joins her.) 

OTHO HAZLEWOOD. 

You're very fond of this little place, aren't you ? 

IDA LESLIE. 

Fairly so. 

OTHO HAZLEWOOD. 

Only fairly. 

IDA LESLIE. 

Do you want me to tell the truth? (Moves to 
sundial.) 

OTHO HAZLEWOOD. 

Please. 

IDA LESLIE. 

Sometimes I like it. 



A LESSON IN HARMONY. 19 

OTHO HAZLEWOOD. 

Sometimes ! 

IDA LESLIE. 

Don't they say that prisoners, after an outburst of 
revolt, play with their chains ! 

OTHO HAZLEWOOD. 

I've heard so. Most men, when they have saved 
a little money, build themselves a prison, in the shape 
of a house, too costly for them to go away from, 
and then provide themselves with the gaoler. 

IDA LESLIE. 

In the shape of a wife ? 

OTHO HAZLEWOOD. 

Precisely; and they have to go through life to- 
gether, to dinners, to theatres, to the seaside — 
chained to each other like convicts. 

IDA LESLIE. 

(Impatienth.) It is just like that. (Crosses to 
L.) Oh! 

OTHO HAZLEWOOD. 

A friend of mine said rather a good thing the 
other day. He doesn't obect to being married, but 
he objected to being always married. 

IDA LESLIE. 

What did he mean ? 

# OTHO HAZLEWOOD. 

Well, I suppose he meant that he'd like to loosen 



so A LESSON IN HARMONY. 

the coupling chain for a Httle, but not to snap it al- 
together, eh? That's about it, isn't it? 

IDA LESLIE. 

(Picking a flower impatiently.) I don't know 
what I should like. {Turning to him.) I wish you 
would tell me. (Boy rings bell at gate.) 

(Enter Boy with note which he gives to Otho and 
exits. ) 

OTHO HAZLEWOOD. 

But . (Looking at the note and reading it 

intently, and saying significantly, zvhile doing so, 
*' Um! Um!") It's Phil's writing. (Ida sits on 
hammock.) Supposing, my dear Mrs. Leslie, you 
had to give up your house, your garden, and every- 
thing you now have, would you not mind? (He 
puts letter in his pocket.) 

IDA LESLIE. 

It depends. I scarcely think any woman minds 
leaving her house, no matter how nice it is, for one 
that is still nicer. I fear we are rather fond of — 
well, pretty things. 

OTHO HAZLEWOOD. 

Naturally. So are men. Every nice woman is 
compounded, in equal proportions, of the spiritual 
and the material, and has the right to expect that 
romance shall be elegant, and passion not attended 
with discomfort. Just as no man makes love to a 
woman in curl papers, so no woman would run away 
with a man in his slippers. But — (again looking 
at the letter) supposing you had to leave your nice 



A LESSON IN HARMONY. 



21 



house, and charming garden, for one less nice and 
less charming, you would mind that, wouldn't you ? 

IDA LESLIE. 

Well, naturally. But there is no danger of that, 
I think. 

OTHO HAZLEWOOD. 

I hope not. (Looking at her compassionately.) 

IDA LESLIE. 

(Alarmed.) Surely there is no such danger, is 
there? (Seising hold of his ami.) That note! It 
is my husband's writing! (He puts the letter be- 
hind him.) Is anything wrong? 

OTHO HAZLEWOOD. 

Mrs. Leslie, you know things have been very un- 
settled and uncertain, in the city, of late. 

IDA LESLIE. 

Phil is ruined I Tell me the truth. Tell me, at 
once. Let me know the worst. 

OTHO HAZLEWOOD. 

Gently, my dear lady. Let me beg you not to 
upset yourself. 

IDA LESLIE. 

Oh, but my husband, my poor husband. What 
will he do? Tell me what he says. 

OTHO HAZLEWOOD. 

But your dream? The earthly paradise? The 



2,2. A LESSON IN HARMONY. 

island home in the Aegean, blue skies, blue seas, blue 
mountains ? 

IDA LESLIE. 

How can you ? — at such a moment ? Dreams in- 
deed! My dear, dear little home! {She sobs.) 
My beautiful garden ! Just as I had made them so 
nice! Where does he write from? Give mc the 
letter — (takes letter.) — get me the A. B. C. 

OTHO hAzLEWOOD. 

Hadn't you better read the letter, first. 

IDA LESLIE. 

(Reading.) 
" My Dear Otho : 

" Such a turn of luck ! My head clerk met 

me at the station with my city letters. Things 

have turned out capitally, and instead of being 

five thousand to the bad by my late speculations, 

I am ten thousand to the good. I am not going 

to the city, but am going to take a holiday 

to-day, and shall be home as soon as ever I have 

gone through the correspondence here with my 

clerk. So mind you don't go." 

(Brightening up, hut still reproachfully.) Why did 

you torment me so? (Otho takes out photo and 

kisses it.) What are you doing? (Takes photo 

from him. ) What a lovely girl ! 

OTHO HAZLEWOOD. 

Isn't she? 

IDA LESLIE. 

Who is she? 



A LESSON IN HARMONY. 23 

OTHO HAZLEWOOD. 

My future wife. 

IDA LESLIE. 

Your future wife! (Looking at photo, reads.) 
" From Gwen." May one ask how long you have 
been engaged ? 

OTHO HAZLEWOOD. 

With her father's consent, since this morning — 
(Casing at the photograph.) Isn't she charming? 

IDA LESLIE. 

But — Mr. Hazlewood' 

OTHO HAZLEWOOD. 

Yes — I know what you are going to say. 

IDA LESLIE. 

Probably you do. (With dignity.) 

OTHO HAZLEWOOD. 

Forgive me. (Rise.) But remember, I put only 
a supposititious case. I am your husband's oldest 
friend, and would do anything for him, and — if 
you will allow me to say so — for you also. 

IDA LESLIE. 

You're really too obliging. 

OTHO HAZLEWOOD. 

Again I say, forgive me. (Goes up.) I am a 
good deal older than you, I am sorry to say — and 
it would be rather hard, therefore, if I had not some 



24 A LESSON IN HARMONY. 

small compensation for that melancholy circum- 
stance by being perhaps just a wee bit wiser — in a 
worldly sense. 

IDA LESLIE. 

I cannot honestly say, Mr. Hazlewood, that you 
seemed very old just now. 

OTHO HAZLEWOOD. 

Perhaps not. Neither will I pretend that I am so 
old that I might not fall in love with you, if you were 
not my friend's wife. 

IDA LESLIE. 

And if you were not engaged to some one prettier 
than your friend's wife. No, I'm not fishing. 

OTHO HAZLEWOOD. 

Once more, please, forgive me. Syringing your 
flowers this morning, I accidentally found this — it's 
all right. {Producing the verses sighted L. G. Ida 
starts and shows confusion.) 1 am sure you toler- 
ated, rather than encouraged, this somewhat poor 
versifier — and no one will ever know of — his in- 
discretion — but you and I. (He gives her the 
piece of paper,) 

IDA LESLIE. 

(Crosses L.) At any rate, you cannot think I am 
very infatuated about him, for I sent him away, in 
order to enjoy your — a — society. 

OTHO HAZLEWOOD. 

Quite so. All men are conceited, where women 
are concerned, as you must well know, and I was 



A LESSON IN HARMONY. 25 

much flattered at holding my own against that 
amorous young rhymester, despite the handicap of 
fifteen more years. 

IDA LESLIE. 

And even when you only feigned to be in love ! 

OTHO HAZLEWOOD. 

(Moving towards her.) Are you sure, Mrs. Les- 
lie, he isn't feigning, too ? Are you sure all men are 
not feigning when they make love to other men's 
wives ? 

IDA LESLIE. 

ril admit you did it rather nicely. 

OTHO HAZLEWOOD. 

Oh, it is so easy. Besides, I will confess, I did it, 
with considerable advantages in my favour — first 
and foremost, a most captivating person to do it to. 
(Ida curtseys.) Then, in the second place, what 
you are good enough to call nicely done, was not 
quite original. 

IDA LESLIE. 

What do you mean? 

OTHO HAZLEWOOD. 

Well, you see Fve just finished a play, in which 
it all comes in; and I have been teaching an actor 
how to say it. You know actors always write the 
author's play for him — all the good things in it at 
least — and so the author, in sheer gratitude, teaches 
the actor how to say them, unless, indeed, the dra- 
matic critic performs both operations for them. 



26 A LESSON IN HARMONY. 

IDA LESLIE. 

Then all that was play-acting? 

OTHO HAZLEWOOD. 

Of course. {Moves R.) 

IDA LESLIE. 

Now, I understand why going to the theatre is so 
nice. But what a memory you must have. 

OTHO HAZLEWOOD. 

It did not require much effort of memory. But 
it did need a little ingenuity and transposition now 
and then. You didn't quite give me the right cues. 

IDA LESLIE. 

I think I gave you them very nicely. 

OTHO HAZLEWOOD. 

{Putting his hand for a moment on hers, and she 
quickly zvithdraws it; sits R. of her.) Indeed you 
did. May I preach? 

IDA LESLIE. 

Preach ? 

OTHO HAZLEWOOD. 

Yes, a curtain lecture, only with hlue skies instead 
of blue curtains — just a little lecture. May I? 

IDA LESLIE. 

Well, just a little one. 

OTHO HAZLEWOOD. 

Go to the play, by all means ; pay your half guinea. 



A LESSON IN HARMONY. 27 

weep — laugh and sigh — as much as ever you like ; 
and then have done with it. There is the world of 
dreams and the world of facts ; stage life and real 
life. They are quite distinct and separate. If ever 
found in conjunction, it is only for a few privileged 
beings and with them for a limited time ! Had we 
gone to Sorrento 

IDA LESLIE. 

Sorrento ! 

OTHO HAZLEWOOD. 

Well, that's the bluest place I can think of. The 
first day it would have rained ; the second, we should 
have quarrelled — the third, since there would have 
been nothing to prevent it, we should have separated. 

IDA LESLIE. 

You're not very complimentary. 

OTHO HAZLEWOOD. 

Well, no doubt I exaggerate — by a few days. 
Romantic love is a terminable annuity, and unfor- 
tunately, it is terminable before death. Indeed it is 
like living on one's capital ; and as romantic lovers 
are very prodigal, they soon run through it. Mar- 
riage was invented, like trustees, to save lovers from 
beggaring themselves. It was devised in order to 
prolong what is over, and to continue what may be 
finished ; to induce, nay, to compel people to eat up 
the cold mutton when the hot joint has cooled. 

IDA LESLIE. 

How dreadful ! 



28 A LESSON IN HARMONY. 



OTHO HAZLEWOOD. 

Is it? Nothing is dreadful that must be. You 
see we come back to the mutton ; to the subject with 
which we started. I overheard what Phil said to 
you about his waistcoats and the mutton and your 
replies ; immediately after, I found those gushing 
verses; I drew my own conclusions, and thought 
that perhaps I might venture to give the Lesson in 
Harmony Phil was so anxious you should take. 

IDA LESLIE. 

What if I call it a lesson in thorough bass? 

OTHO HAZLEWOOD. 

Ah ! but you won't — you'll let me ofif this once, 
won't you ? 

IDA LESLIE. 

Pm not sure 

OTHO HAZLEWOOD. 

After all, white waistcoats must be washed — 
sometimes ; and if a man is in that — forgive me — 
that beastly city, it is not so very unreasonable that a 
woman should steal a few moments from her — gar- 
den — to confer with the laundress. Moreover, 
mutton ought to be hung — and now that we are 
both in a candid mood — the saddle last night — 
was — well, rather like a saddle. 

IDA LESLIE. 

I'll admit I didn't eat any of it. I suppose I 
mustn't say that Phil is inclined to be a little fas- 
tidious. 



A LESSON IN HARMONY. 



OTHO HAZLEWOOD. 



29 



He was very fastidious, at any rate, when he chose 
you ; and therefore you, at least, may pardon him for 
being fastidious in other ways. Marriage puts most 
men at a considerable disadvantage. They have to 
keep the wolf from the door, to provide the purple 
and fine linen, to pay the Christmas bills; and in 
order to do these things, they have not only to work 
hard, and to endure a good deal of anxiety, but to 
enter into the many little money details. Now, if 
there is one thing more than another that all nice 
women dislike, it is money details. Blue skies, blue 
seas, blue mountains 

IDA LESLIE. 

Yes, yes, I know. 

OTHO HAZLEWOOD. 

Are much nicer subjects of conversation, and it 
is so easy for men who are not married to indulge 
in them. 

IDA LESLIE. 

(Rise.) Yes, I understand, thank you. (She 
turns and sees the Sei"-uant, zvho enters the garden 
and hands Ida a telegram. Reads aloud.) "Will 
come this afternoon by the 4.25 train — Yours re- 
spectfully, Ellen Backhouse." Why, that is the 
name of the maid. 

OTHO HAZLEWOOD. 

No doubt Phil telegraphed to her to come, the 
moment he heard of the change of afifairs in the city. 

IDA LESLIE. 

Will you forgive me? I must go and see to her 



30 A LESSON IN HARMONY. 

room being got ready. (Clapping her hands.) 
How nice! {She goes into the house.) 

OTHO HAZLEWOOD. 

( To photo of Gwen. ) Gwen darling, will you de- 
mand the mountains, blue skies, blue seas, blue 
rooms, blue maids. I wonder ! {Crosses to house.) 

{Phil comes up the zualk.) 

OTHO HAZLEWOOD. 

There you are ! 

PHIL. LESLIE. 

You got my letter ? 

OTHO HAZLEWOOD. 

{Grasping his hand affectionately,) Yes. So 
glad your luck's turned. 

PHIL. LESLIE. 

.Where is Ida? (C.) 

OTHO HAZLEWOOD. 

Gone indoors to make preparations for her new 
maid. She had a telegram saying Ellen somebody 
is to be here this afternoon. She's radiant about it. 

PHIL. LESLIE. 

I thought she would be. Was she very low be- 
fore? {Throzvs hat and umbrella in hammock.) 

OTHO HAZLEWOOD. 

Very. 



A LESSON IN HARMONY. 31 



PHIL. LESLIE. 

But you cheered her up? 

OTHO HAZLEWOOD. 

I did my best. {Slapping him on the shoulder.) 

PHIL. LESLIE. 

Thanks, old man. 

OTHO HAZLEWOOD. 

But I say, old boy, if you don't mind, I think I 
should not make such a fuss about the mutton being 
tough. 

PHIL. LESLIE. 

Did I make a fuss? 

OTHO HAZLEWOOD. 

Well, you said it was tough, and wanted hanging, 
when really it was very fair, and when mutton is 
young, much may be forgiven. And, when women 
are hipped, they hate being talked to about tough 
mutton. 

PHIL. LESLIE. 

All right, old man! I'll see the butcher myself. 
{Crosses R.) 

OTHO HAZLEWOOD. 

And, I say, if I were you — it's quite between 
ourselves you know — you and I are old friends — I 
wouldn't wear quite so many white waistcoats — or 
if I do, I would wash them myself. 

PHIL. LESLIE. 

What do you mean? 



32 



A LESSON IN HARMONY. 



OTHO HAZLEWOOD. 

Precisely what I say. (Phil laughs and moves 
towards house.) And just one thing more, while 
we are on the subject! If you don't mind, talk 
about blue skies sometimes — blue seas — blue 
mountains. 

PHIL. LESLIE. 

But they're not blue. 

OTHO HAZLEWOOD. 

My dear fellow, I know that just as well as you 
do. But what does it matter what colour they are? 
Say they are blue. Women like them to be blue, 
especially when they feel blue themselves ; and mind 
you, say it in the proper tone of voice. Blue skies 
— blue seas — blue mountains. (Phil repeats after 
him. ) 

(Ida comes out of the house.) 

IDA LESLIE. 

Phil ! The maid is coming at 4.25. 

PHIL. LESLIE. 

I telegraphed to her. And I rather hope the Vic- 
toria will come by the same train. I telegraphed for 
that too. 

IDA LESLIE. 

(Throzving her arms round him.) You dear old 
thing. (Otho coughs.) 

PHIL. LESLIE. 

But, don't you think, Ida, after this new stroke of 



A LESSON IN HARMONY. 



33 



luck we are entitled to a holiday — I mean a real 
holiday — a run abroad 

IDA LESLIE. 

Oh, yes. 

PHIL. LESLIE. 

To blue skies — blue seas. 

IDA LESLIE. 

Ah! 

PHIL. LESLIE. 

Blue mountains ! 

IDA LESLIE. 

(Putting her arm through his.) Delightful! 

PHIL. LESLIE. 

Now I'll go round to the stables and give orders 
about the Victoria being met. 

IDA LESLIE. 

Oh, yes ; do, do ! 
(Otho picks up from hammock Phil's hat and stick; 
puts them on and sings '' When We Arc Married," 
and laughs at Ida.) 

(Exit Phil through C. gate to the stables. Enter 
Servant from house.) 

SERVANT. 

Sir Lothario Greatrex has called again. 

IDA LESLIE. 

Ask him to wait a moment. 
(Exit Servant into house.) 



LofC. 



34 A LESSON IN HARMONY. 

OTHO HAZLEWOOD. 

(Puts hat and stick back into hammock.) What 
are you going to do ? 

IDA LESLIE. 

Going to send him back his verses. But I don't 
know what to say. 

OTHO HAZLEWOOD. 

May I help you ? 

IDA LESLIE. 

It's a shame to trouble you. 

OTHO HAZLEWOOD. 

It's a pleasure. How shall we begin. I know, 
Dear Sir Lothario. 

IDA LESLIE. 

" Dear Sir Lothario " : 

OTHO HAZLEWOOD. 

So far it's very easy, isn't it? (He goes to her 
R.; after a pause he continues.) I return you the 
verses, with best thanks for your attentions. But 
Mr. Hazlewood, who is here, and who is a great au- 
thority on verses, says there are three false quanli- 
ties in them, and four false rhymes 

IDA LESLIE. 

Am I to write that ? 

OTHO HAZLEWOOD. 

Yes, it will do him good. 



A LESSON IN HARMONY. 35 

IDA LESLIE. 

( Writing. ) " Four false rhymes " 

OTHO HAZLEWOOD. 

And if yon will call to-morrow afternoon, about 
five, by which time my husband will be at home, and 
Mr. Hazlewood will have left 

IDA LESLIE. 

No, no, coward ! 

OTHO HAZLEWOOD. 

It will give him much pleasure to hear how well 
I've progressed with 



IDA LESLIE. 

" How well I've progressed with "- 

OTHO HAZLEWOOD. 

My Lesson in Harmony! 

IDA LESLIE. 

" My Lesson in Harmony." 

CURTAIN. 



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VOL. I. 

The Irish Attorney 
Boots »l the Swan 
How to Pay the Rent 
The Loan of a Lover 
The Dead Shot 
His Last Legs 
The Invisible Princ* 
The Golden Farmer 

VOL. n. 

Pride of the Market 
Used Up 
The Irish Tutor 
The Barrack Room 
Luke thi3 Laliorer 
Beautv and the Beast 
St. Patrick's Eve 
Captain of the Watch 

VOL. Ill 
The Secret 
White Horse of the 
The Jacobit 
The Bottle 
Box and Cox 
Bamboozling 
Widow's Victim 
Robert Maoaire 

VOL. IV. 
Secret Service 
Omnibus 
Irish Lion 
Maid of Croissy 
The Old Guard 
Raising the Wind 
Slasher and Crasher 
Naval Enffajjementi 

VOL. V. 
Cocknles in C«lifoml» 
Who Speaks First 
Bonibastes Fmioso 
Macbeth Travestie 
Irlsli Ambassador 
Delicate Ground 
The Weathercock [Gold 
All that Glitters is Not 

VOL. VL 
Grimshaw, Bagshaw and 

Brr.dshaw 
Rough Diamond 
Bloomer Costume 
Two Bonnycastles 
Born to Good Luck 
Kiss in the Dark [jnrer 
'Twould Puzzle a Con- 
Kill or Cure 

VOL. VIL 
Box and Cox Married and 
St. Cupid [Settled 

Go-to-bed Tom 
The Lawyers 
Jack Sbeppard 
The Toodies 
The Moboap 
Ladies Be w:ire 

VOL. vin. 

Morning Call 
Popping the Question 
Deaf as a Post 
New Footman 
Pleasant Neighbor 
Paddy the Piper 
Brian O'Linn 
Irish Assurance 
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Paddy Caver 
Two iSregories 
King Cliarming 
Po-ca-hon-tas 
Clockmaker't Hat 
Married Rake 
Love and Murder 

VOL X. 
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Pretty Piece of Business 
Irish Broom -maker 
To Paris and Back 

Five Pounds 
That Blessed Baby 
Our Gal 
Swiss Cottage 
Young Widow 



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81 O'Flannigan and the Fai- 

82 Irish Post [ries 

83 My Neighbor's Wife 

84 Irish Tiger 

85 P. P., or Man and Tiger 

86 To Oblige Benson 

87 State Secrets 

88 Irish Yankee 

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89 A Good Fellow 

90 Cherrv and Fair Star 

91 Gale Breezely 

92 Our Jemimy , 

93 Miller's Maid 

94 Awkward Arriv.al 

95 Crossing the Line 

96 Conjugal Lesson 

VOL. XIII. 

97 My Wife's Mirror 

98 Life in New York 

99 Middy Ashore 

100 Crown Prince 

101 Two Querns 

102 Thumping Legacy 

103 Unfinished Gentleman 

104 House Dog 

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105 The Demon Lorer 

106 Matrimony 

107 In and Outof Place 
JOS I Dine with My Mother 

109 Hi-a-wa-tha 

110 Andy Blake 

111 Lovb in '76 [ties 

112 Ron.ance under Difficul- 

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113 One Coat for '.i Suits 

114 A Decided Case 

115 Daughter [nority 

1 16 No; or, the Glorious Mi- 

117 Coroner's Inqrisition 

118 Love in Humble Life 

119 Family Jars 

120 ferson.ation 

VOL. XVI. 

121 Children in the Wood 

122 Winning a Husband 

123 Day After the Fair 
124'Make Your Wills 

125 Rendezvous 

126 My Wife's Husband 

127 Monsieur Touson 

128 Illustrious Stv.anger 

VOL. XVII. 

129 Mischief-Making [Mints 

130 A Live Woman in the 

131 The Cors.air 

132 Shylock 

133 Spoiled Child 

134 Evil Eve 

135 Nothing to Nurse 

136 Wanted a Widow 

XOL. XVIII. 

137 Lottery Ticket 

138 Fortune's Frolic 

139 Is he Jealous! 

140 Married Bachelor 

141 Husband at Sight 

142 Irishman in London 

143 Anima! Magnetisiii 

144 Highways and By-Wavs 

VOL. XIX. 

145 Columbus 

146 Harlequin Bluebeard 

147 Ladies at Home 

148 Phenomenon in a Smock 

Frock 

149 Comedy and Tragedy 

150 Opposite Neighbors 

151 Dutchin.an's Ghost 

152 Persecuted Dutchman 

VOL. XX. 

153 Musard Ball 

154 Great Tragic Revival 



156 A Gentleman fro«\ Ire- 

57 Tom and Jerry [li 

58 Village Lawyer 

59 Captain's not A-miss 
160 Amateurs and Act 




014 387 072 8 

ire's Dream 



161 Pre 

162 A 

163 Mr-. ._ 

164 Shakeap 

165 N«ptune'« Defeat 

166 Lady of Bedchamber 
'.67 Take Care of Little 

168 Irish Widow [Charley 

VOL. XXII. 

169 Yankee Peddler 

170 Hiram Hireout 

171 Double-Bedded Room 

172 The Drama Defended 

173 Vermont Wool Dealer 

174 Ebenezer Venture [ter 

175 Principles from Charae- 

176 Ladv of the Lake (Trav) 

VOL. xxia. 

177 Mad Dogs 

178 Barney the Baron 

179 Swiss Swains 

180 Bachelor's Bedroom 

181 A Roland for an Oliver 

182 More Blunders than One 

183 Dumb Belie 
1»4 Limerick Boy 

VOL. XXlV. 

185 Nature and Philosophy 

186 Teddy the Tiler 

187 Spectre Bridegroom 

188 Matteo Falcone 

189 Jenny Lind 

190 Two "Buzzards 

191 Happy Man 

192 Betsy Baker 

VOL. XXV. 

193 No. 1 Round the Comer 

194 Teddy Roe 

195 Object of Interest 

196 My Fellow Clerk 

197 Bengal Tiger 

198 Laughing Hvena 

199 The Victor Vanquished 

200 Our Wife 

VOL. XXVI. 

201 My Husband's Mirror 

202 Yankee Land 

203 Norah Creina 

204 Good for Nothing 

205 The First Night 

206 The Eton Boy 

207 Wandering Minstrel 

208 W»nted, 1000 Milliners 

VOL. XXVIL 

209 Poor Pilcoddy 

210 The Mummy [Glasses 

211 Don't Forget your Opera 

212 Love in Livery 

213 Anthony and Cleopatra 

214 Trying It On 

215 Stage Struik Yankee 

216 Young Wife & Old Um- 

brella 

VOL. xxvin. 

217 Crinoline 

218 A Family Failing 

219 Adopted'Child 

220 Turned Heads 

221 A Match in the Dark 

222 Advice to Husbands 

223 Siamese Twins 

224 Sent to the Tower 

VOL. XXIX. 

225 Somebody Else 
'2J6 L.adies' Battle 

227 Art of Acting 

228 The Lady of the Lions 

229 The Rights of Man 

230 Mv Husb.and's Ghost 

231 Two Can Play at that 

Game 

232 Fighting by Proxy 

VOL. 5{XX. 

233 Unprotected Female 

234 Pet of the Petticoats 



155 High Low Jack & Game 235 Forty .and Fifty [book 



236 Who Stole the Pocket 

237 My Son Diana [sion 

238 Unwarrantable Intru- 

239 Mr. and Mrs. White 

240 A Quiet Family 



(Frenches Minor Drama Continue J on ^d page of Cover.) 



244 A Birgmeirueme 

245 Little Toddlekins 

24b A Lovtr by Proxy [Pail 

247 Maid with the Milking 

248 Perplexing Predicament 

VOL. XXXU. 

249 Dr. Dilworth 

250 Out to .Nurse 

251 A Lucky Hit 

252 The Dowager 

253 Metamora (Burlesque) 

254 Dreams of Delusion 

255 The Shaker Lovers 

256 Ticklish Tim.s 

VOL. XXXIIL 

257 20 Minutes with a Tiger 

255 Miralda; or, the Justice 

of Tacon 

259 A Soldier's Courtship 

260 Servants by Legacy 

261 Dying for Love 

262 Alarming Sacrific* 

263 VaJet de Shim . 
264Nichola» Mckleby 

VOL. XXXlV. 
268 Th« Last of ths Pigtails 

266 King Rene's Daughter 

267 The Grotto Nymph 
26S A Devilish Good Joke 
L'f.O A Twice Told Tale 
211) Pas (le Fascination 
■^71 Revolutionary Soldier 
272 A Man Without a Head 

VOL. XXXV. 
973 The Olio, Part 1 

274 Tne Olio, Part 2 

275 The Olio, Part 3 [ter 

276 The Trumpeter's Daugh- 

277 Seeing Warren 

278 Green Mountain Boy 

279 That Nose 

280 Tom Noddy's Secret 

VOL. XXXVL 
231 Shocking Events 
262 A Regular Fix 

283 Dick Turpin 

284 Young Scamp 

285 Young Actress 

256 Call at No. 1—7 

287 One Touch of Nature 

288 Two B'hoys 

VOL. X XXVIL 

289 All the World's a Stage 

290 Quash, or Nigger Prac- 

291 Turn Him Out [tice 

292 Pretty Girls of ^lillberg 

293 Angel of the Attic 

294 CircnmstancesalterCases 

295 Katty O'Sheal 

296 A Slipper in Dixie 

VOL. XXXVIH. 

297 I<i on Parle Francais 

298 Who Killed Cock Robin 

299 Declaration of Independ- 

300 Heads or Tails ^ence 

301 Obstinate Family 

302 My Aunt 

303 That Rascal Pat 

304 Don Paddy de Bazan 

VOL. XXXIX. [ture 

305 Too Much for Good Na- 

306 Cure for the Fidgets 

307 Jack's the Lad 

308 Much Ado AboutNothlng 

309 Artful Dodger 

310 Winning Hazard 

311 Day's Fishing [&c. 

312 Did you ever send your, 

VOL. XL. 

313 An Irishman's Maneuver 

314 Cousin Fannie 

315 'Tisthe Darkest Hour he- 

316 Masquerade [fore Dawn 

317 Crowding t)ie Season 

318 Good Night's Rest 

819 Man with the Carpet Bag 
320 Terrible Tinker 



5AMUEL FRENCH. 26 West 22d Street. New York City. 

New and Explicit Descriptive Catalogue Mailed Free on RequerV 



